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RUBINA Not Of This Earth ‘Music by Joe Satriani \Sepyriht © 1986 Svange Gesu! Muse (ASCAP) ‘Tar Rrangomont Copyagh © 1991 Srange Benuatha Muse Interatonal Copyright Secured Al Right Revered Joe offers up “Rubina” with calm reserve. Following a long and patient introduction, the melody enters as if not to stir the palcid setting, followed soon by a passage of gently swaying double stops «and then a solo interlude, Joe named this song for his wife, and itis every bitas lovely as her name. Implying G-Em7 changes, two guitars introduce “Rubina” with a gently swelling wave of harmonics. There's a lot of room within the 4=80 tempo, and Satriani is careful not to take up too much space even as he enters with the melody. His presentation is spare, at first almost tentative. Notice how just a few staccato punctuations help maintain a com- fortable amount of breathing room. Gs) ey me ee ce —— a = ns = a a ‘We're still over G-Em (two bars apiece) and the harmonics are still ringing peacefully as the melody's second motive enters. The second time it’s heard, Joe moves up to 10th position to add a harmony line in 3rds and 4ths. A slight trem. bar vibrato on longer notes provides the perfect adornment. ‘The first motive takes on new life when Joe plays a version of the figure over Cmaj7-Bm7. Nice. Ever mindful of the g tar’s advantages, Joe catches 12th-fret harmonics each time he passes through. Here’s the end of the head, where the melody peaks on Bm? before returning to G-Em for the solo. ca) wk ee SS = vb, w/bar at Magee) Ee td sh sk rs (oo | fw. wie ee He + ote SBE pa ng with the rest of the song, the solo begins with spacious phrases: sometimes Joe holds out for long sustains, other times he peppers a line with staccato articulations. Not until this next phrase do we get a hint that Joe is holding back some fire. Suddenly +=80 isn’t slow enough! Although Satriani packs a lot of notes into each beat, he’s still careful to leave space in between each of these descensions. These are quick but shouldn't be too tough for the pentatonically inclined, 1AM eb: A ¥ AHL pa F 7 Pa ‘The next example is a cornerstone of the solo. It sings out confidently and soars up to a high E, bent from D. It shows a ‘wonderful pairing of melodic sense and forethought. es)